Dendy Jarrett

When you think about how much music has done for you, it would be difficult to put those thoughts into words. Think about all of the ways music influences your life. As a musician, it allows you to communicate feelings and thoughts in melodic and harmonic fashion. Since you are a musician, you already realize that music is a different form of language. Entire conversations take place in note form. I think back to college when "trading fours" was an interpretive conversation via instrument. Playing in a Top 40 band is usually a fine line between emulation and interpretive art. Stray too far from the conversation and others will let you know about it! Imagine if you will, for a brief moment, a world devoid of music — no music at all. It’s painful to even think about. Music can define ethnicity. It can define religion. It can define personality. Music can paint with a large brush stroke or a detailer's pin-stripe brush. Now imagine a world where everything is communicated in song. We all know people who can’t carry a tune in a bucket, but by and large, the thought of a world full of music isn’t a bad thought. Heck, we might even achieve world peace for once. If music were a person, how close a friend would it be? How would you treat the person? When that person pops into your thoughts, would those thoughts be pleasant? Would the person be your best friend or just a close friend? It’s an interesting question with myriad perspectives. As a musician, you are probably very thankful for music. As we enter into the Thanksgiving season in the US in which we celebrate being thankful for many things, keep music on your list of things for which you are thankful. You should also know that music thanks you. Every time you play it, it thanks you. Every time you listen to it, it thanks you. And every time you teach music to another, it thanks you. You are helping music to continue its journey into the future. You are helping the music species survive. So go ahead and be thankful for music. It’s the right thing to do, but know that music has your back and it thanks you in return. _________________________________________________________________ Dendy Jarrett is the Publisher and Executive Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

Dear Musician - Unlimited Opportunities! Say What?!? The music industry as we knew it is gone - but that gives us the opportunity to rebuild it the way we want by Dendy Jarrett Let’s face it—times have changed. Life isn’t like it was when many of us were growing up, and certainly, the music business isn’t either. Instant gratification, no patience, gotta-have-it-now, and "don’t-need-a-big-label or distribution to release my music" is the name of the game these days. Yet this isn't necessarily bad: the "gotta-have-it-now" mentality has led to the rise of streaming and making more music available than ever before. And it does look like streaming is starting to develop into a model that will provide a decent income for those musicians who can create music to which large numbers of people can relate. (And in that respect, the "good old days" were the same way - it was a label's top 10% acts that kept it afloat, and compensated for the other 90% going nowhere.) So we're not fighting distribution any more; we have the means to distribute. Nor do we have to pay millions of dollars for studio time when we can have a world-class studio in our bedroom - and we don't have to store 1,000 records in the garage to take to gigs. We can just give out a link and collect via PayPal. So what exactly are the "pain points" these days? Oversaturation. – Music is available from so many sources today it’s simply staggering. This is amazingly great for consumers, but, for musicians, music is so common it isn't as special as it once was when the only way to hear music was to hope your radio station would play it or to buy an album. As a result, it's more important than ever to create unique music that stands out from the crowd - when/if it does get played, you want people to stop what they're doing because they're compelled to listen. Overstimulation. Hearing the same song over and over at will leads to “song fatigue,” and because of this overstimulation, listeners and fans move on except in the case of exceptional talent. The solution is to keep up a steady stream of your own music so that there's always something new for your fans - that way they'll move on to your next project instead of someone else's. Overprocessed. If you depend on gigging for part of your income, don't fall into the trap of using so much processing that you don't sound even remotely like your recordings. When you can't deliver live, fans can go away disappointed - even angry. Be true to your sound, for better or worse, and let the chips fall where they may. Overload of options. Entertainment options are so omnipresent that the idea of sitting down and listening to music without distraction is foreign to most people, so a lot of music is heard as background music. If you can create music that is able to serve not just as a great listening experience but as the soundtrack to peoples' lives...bingo. Overflux. Everything is in flux. Although streaming does pay out something, the stories of artists who’ve had millions of streams yet received only a few hundred dollars are legion. Major labels are multinational conglomerates, not the mom-and-pop labels like Chess records that did only one thing but did it well. Island Records had an identity; Spotify does not. And we don't even know which streaming outlets will survive and which won't. Sure, you can see "gloom and doom" - or you can get creative. There are fewer live venues to play, but now we have the option for Skype and other online concerts (Armin Van Buuren was a pioneer in this, when he monetized his "State of Trance" DJ sets by streaming them online to subscribers) - and you can put videos of showcase performances on your own YouTube channel and reach a lot more than 50 people in a club on a Thursday night. While you might not get money from YouTube, those videos are the new business card. A lot of bands are making money with corporate gigs for company parties and events - and they pay better than clubs. You can see kids being raised with devices that provide such instant gratification that they're not disciplined enough to take the time to “learn” an instrument. But that's always been the case. It takes discipline to become a great musician. Period. There were guitars and keyboards gathering dust in closets long before people could load loops into a computer. The difference today is that with more kids being exposed to music, and getting gratification from it, we're more likely to see many of those people get hooked on music and become "lifers." Musicians will always be a minority of dedicated people - that's why we're special, so embrace it. You can also bemoan the lack of music education in schools. But, while cutting back the arts is never a particularly good idea, if you want to learn an instrument and have an internet connection, you'll find all the lessons you could ever want. Granted, some of your teachers will be...uh...not that great. But that was the case in school, too. So we can sit around and see gloom and doom, or we can become aware that new opportunities are there for the taking - but only if we take them and grow them. There's a famous quote by George Carlin: “Some people see the glass half full. Others see it half empty. I see a glass that's twice as big as it needs to be." Preach it, brother. We take our glass from a few decades ago and say it's only half full...or we can look around for a glass that's the right size for today's scene. Sure, it's difficult to accommodate change. But was it ever easy? _________________________________________________________________ Dendy Jarrett is the Publisher and Executive Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

Dear Musician – Thank You for Raising HC to New Heights Because you’re inspired to make better music by Dendy Jarrett Make Better Music is the name of this bi-weekly publication, but it is also our Mission Statement. We are called to inspire people to make better music. It’s not only our mission, but it is an outreach with tentacles into Team HC’s core DNA. We are a small team of four musicians (much like a small 4-piece band) and some contributing writers who deeply believe in the power of music and the impact it makes on humanity. Nothing can change that belief when you understand music’s power. What Harmony Central strives to do with Make Better Music is to keep our content diverse, fresh, and, most importantly, neutral. Our goal is to provide you informative assessments of gear and articles that may help answer your questions, explain the details on things that might otherwise intimidate you, and leave you with the desire to make some music. By the time you read this edition, we’ll be fast approaching 100,000 subscribers with Make Better Music. You helped us get there, and we thank you. We also ask that if you find this publication helpful, please share it with at least one other musician you believe could benefit from the information. Having 100,000 subscribers places Make Better Music among the top publications in the music instrument industry segment. Again – we thank you. With the passing recently of some musical greats, we are once again reminded that while these people leave us, their music doesn’t – It lives on to remind us of our past and to inspire us for our future. If you like Make Better music, please also join us in the forums at Harmony Central. There you can enjoy dynamic information without the evanescent nature of most social media, interact with other musicians, find our newsfeed with daily updates, and see user reviews to determine what others think of the gear they purchased. There are lots of places these days where you can find information on the web on anything and everything, but there is only one place for musicians, which has been online for over 22 years. Harmony Central attracts millions of unique visitors each month, and we want to thank the support from our community - even during tough times - for making that possible. So, have a read of this week’s edition and rock on! _________________________________________________________________ Dendy Jarrett is the Publisher and Executive Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

Yamaha Recording Custom Stainless Steel Snare Drum A cracka-lackin' snare drum that's not lackin'! by Dendy Jarrett Stainless steel is used for so many things because it’s sleek and clean. It’s also very durable and versatile. It translates those qualities very well when formed into a cylinder with two tympanic membranes stretched across it and coiled wires added to the bottom. The result can be stunning. Stainless Steel Choosing a snare drum that "speaks" to you can be a challenge. Many of us who began playing in middle school started with a metal snare drum. Metal snares tend to be more versatile in various music genres than their wooden counterparts. Steel drums have a characteristic ring when played wide open, or the overtones can be reined in by applying the correct combination of heads and muffling. Stainless steel snare drums have a much wider dynamic range than most wooden snare drums; you can go from a concert arena forte sound to a pianissimo volume without losing definition. Stainless steel has a neutral finish and will fit right in with anything from sparkle finishes to classic wood grains - and look great doing so. Recording Custom Snare The snare drum I reviewed is the 14” X 5.5” snare drum. The drum also comes in a 7” depth. The snare drum I was sent has 2.3mm power hoops, which Yamaha refers to as a “Dyna” hoop and appears to be standard (however, there is some confusion on their official web page as the drum is pictured with both power hoops and die-cast hoops). The drum is equipped with a Steve Gadd signature 20-strand snare wire, which has a very crisp response. It also comes bundled with the Steve Gadd signature 10-strand wires, which is what he prefers in this particular drum. The stainless shell is 1.2mm thick, has a 45° bearing edge pitch, and features an outwardly raised center-bead that produces a more open sound but also provides a keen visual aesthetic. The strainer is a heavy-duty Q-type strainer I find extremely responsive, easy to turn on and off, and very adjustable for dynamic articulation. The drum is also equipped with my favorite snare drum head combination – a Remo Ambassador-coated batter head and a clear snare Ambassador on the bottom. Cracka-lackin’ – not – lackin’ This drum has the credentials: it’s Steve Gadd’s drum of choice. There's really nothing I can say that would carry a higher endorsement; however, since this is a review, I’ll add my personal experience. This is a very diverse drum that would serve any genre of music well. I liked the wide dynamic range it offers, particularly because it never loses definition and clarity. It never becomes muddy with any changes in tuning. It's also very visually appealing. The stainless is a pleasing matte-brushed finish that translates well with any kit color and was right at home behind three different drum sets I used it with. Also note that the drum has some weight to it. I never placed it on a scale, but it's notably beefy. You know it’s well made, not only by the looks but by the weight. This drum is cracka-lackinly good, but the one thing it doesn’t lack is crack! It can be a monster, but when tamed, it can be subtle. Conclusion For a general-purpose snare drum that can pull its weight in any music application, I highly recommend this drum. With an MSRP of $935, it sports a price tag that puts it in the mid-high to high range, but, of course, the "street" price makes it more affordable. It measures up both in sound and visual appeal, and you won’t be disappointed. Resources Yamaha Official Product Webpage Steve Gadd on Yamaha Recording Custom - Recording Custom Sound Comparison - To purchase the Yamaha Recording Custom Stainless Steel Snare Drum Sweetwater Reverb Musician's Friend Guitar Center Amazon Ebay This year Yamaha Drums is celebrating their 50 year anniversary. Here is a video of some of their on-going events - _________________________________________________________________ Dendy Jarrett is the Publisher and Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

Musicians – Are You Living in the Past? Maybe it’s time to broaden your horizons by Dendy Jarrett Dear Musician, Yes, I'm a rocker. I was raised on it, it's still around, and I like listening to it. Of course, it's not all I listen to; I was raised in the rural South, so bluegrass and folk also got into my DNA. Also, I appreciate a good jazz drummer as much as anyone else. But music is full of surprises, and every now and then I'm reminded why it's good to seek out those surprises...and even, more importantly, why you need to have an open mind when you find them. A friend recently shared a Facebook post that got my attention. So, like every curious person who wanders into things on Facebook—I clicked. What? Bluegrass Thrash Metal?!? I don’t even like thrash metal. I go out of my way not to listen to it (no offense to those in our audience who thrive on it, but it just isn’t my cup of tea). So imagine my surprise when I realized I was really enjoying what I was hearing! Yep, it’s bluegrass done Thrash Metal style. And the album I heard is called Thrash Grass from the group The Native Howl, which consists of acoustic guitar, banjo, electric bass, and drums. (Yeah, I know drums don’t belong in bluegrass - but I’m a drummer, so I approve!) I began thinking that sometimes human beings pigeonhole themselves into one or two genres of music. Outside of that, they don’t care to listen to anything else. Sometimes, as musicians, we do the same. Hearing The Native Howl was a classic reminder to me to keep an open mind. Be receptive to other styles and don’t overlook something just because you’ve judged the music by the cover. Listening to different types of music keeps your musical mind stimulated, inspired, and (frankly) educated. I was talking about this the other day with Craig Anderton. He said that DJing has made his rock music better, doing rock music gave him an edge while DJing, and listening to Caribbean dance music freshened up both of them. And my kids are a constant reminder of this. too. I play them older music, and they ask if I’ll listen to their music. This keeps those ties that bind us tight. So, go ahead and give some bluegrass Thrash Metal a listen. You may dig it, or you may not, but at least you gave it a try. And by doing so, you will be living in the present - and broadening your horizons. - HC- Video Example: _________________________________________________________________ Dendy Jarrett is the Publisher and Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

Sabian Evolution Series Darwin would have liked these highly evolved cymbals by Dendy Jarrett When Bob Z started Sabian, I'm certain he realized that cymbals have to change with musical trends. But it's not just about music: amplification has changed, there are now much better mics, better mixers, and better isolation techniques...so cymbals must evolve to adapt. The History Evolution can be defined as the gradual development of something, especially from a simple to a more complex form. So there’s certainly something in the name, and when Sabian sent me a set of their Evolution Series cymbals to review, I was intrigued by the name and wanted to know more. The cymbals were developed as a joint project between Sabian specialist/designer Mark Love and acclaimed drummer Dave Weckl. They wanted a cymbal that would be extremely versatile and cover a wide range of styles. Whether jazz, fusion, gospel, or rock, the cymbals needed to speak. Dave was looking for a specific sound, and after rounds and rounds of prototypes, they finally landed on the sound that was in his head. Dave says: “I wanted a cymbal that invited you to play it with no resistance, speaking with clarity and brilliance, air, and atmosphere.” The Cymbals The Evolution cymbals I reviewed were specifically the 21” Ride and the 19” Crash. Interestingly, this cymbal series doesn't have the usual thin, medium thin, medium, heavy, etc. variations). These cymbals are considered to be the sound that each should be producing naturally. Dave insisted that this be the most consistent cymbal series that Sabian has ever produced, which is difficult to attain with cymbals that aren't just stamped out. Yet the cymbals are indeed consistent, and simply beautiful. The hammering is “soft” with wide hammer blows that are extremely subtle. The finish is a brilliant mirror finish. and is butter soft. The Performance These cymbals are indeed suitable for a wide variety of music genres. Explaining a cymbal's sound can be a challenge, but to me these are warm yet durable, with a hint of “iceness” to the sound. The “crash” has a brighter brilliance, but the rolloff is quite warm. The 21” Ride has a strong but not overwhelming "wash" to it and can serve as a crash/ride in certain applications. The bell has distinct definition, although not suited for a power ballad. Overall it has a dark, funky sound...great for grooving. Of all the cymbals I’ve owned, I've never had a 21”, so this is a departure for me. I like that this cymbal fits into an uncommon niche. The 19” Crash falls in the "sweet spot" of the new “bigger is better” cymbal trend. There's a bright attack with a glass-shattering crash and a nice warm decay. I used it for gospel applications, and it found its place at the drum set. The Conclusion Dave Weckl and Sabian did a masterful job of developing this cymbal series. The cymbals are fantastic. There was a time when there were no “series” of cymbals; you just selected an 16” crash by setting up ten 16” crashes and finding the one that you liked the best. But, since we do have a veritable smorgasbord of cymbals series to choose from now, the Evolutions should definitely be a contender, especially if your playing is diverse and you're not locked into one specific genre of music. I’m off to try some other sizes myself! -HC- Resources Sabian Obsessed - Dave Weckl Evolution Ride To purchase Sabian Evolutions - Sweetwater Music Musician's Friend Guitar Center Amazon Music Ebay Reverb _________________________________________________________________ Dendy Jarrett is the Publisher and Executive Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

Who's Your Real Competition? It may not be who you think it is by Dendy Jarrett Dear Musician - In the past your competition was the band down the street, but today it's all music ever released. Why? Because people can access any music any time with streaming media. When people listen to Prince, they don't want to listen to someone almost as good as Prince or "the next Prince." If you are a live player, the competition isn't just musicians but movies, Netflix, video games, Facebook, and other distractions that keep people at home instead of going out to clubs or concerts. That's some tough competition. But, paradoxically, the real competition is both tougher and easier. In our last Dear Musician, we covered the Sports/Music Connection. Music may not be a sport but, like sports, it is competitive. To be a pro sports player, you have to be faster, smarter, and better than the competition. You start in school, probably playing for teams. Trying to stay fit, you get up early enough in the morning to do some laps, stay late for practice, and watch what you eat. You give up some of the pleasures that other people take for granted because you have a focus, and you don’t want anything to get in your way. Musicians aren’t all that different. There’s even a term, “woodshedding,” to describe the process of ongoing, relentless practice to become better at your art. Sure, you want to develop your soul and hone the message you want to present, but you also need to develop the technique that lets you express yourself effortlessly. And, ultimately, this will turn into competition—with yourself. What's tough is that there will be times when you are your own worst critic. You know you could have done a better vocal or riff. You know that the chorus in your new song isn't anthemic and that if you submitted a particular song to a songwriter's panel, you'd be torn apart. You can let that discourage you and drop out of the competition with yourself. Or you can double down on pushing your limits further. Then one day, you'll come up with a hook so infectious anyone hearing it hums it for days afterward. However, the story doesn't end there. Here's the part of competing with yourself that's easy. You’ve probably gone someplace and heard a musician or group that wasn’t your preferred style, but they were so into what they did that you enjoyed yourself anyway. That guy at the local Holidome with an arranger keyboard? Yeah, maybe he’s just going through the motions, and you're already looking for the exit halfway through your first drink. But maybe he loves what he does. Maybe he loves the opportunity to entertain, and you can’t help getting caught up in that kind of enthusiasm and getting sucked into enjoying yourself. He's still competing with himself, but the competition isn't whether he can play faster that Keith Emerson or sing better than Billy Joel. His competition is having more fun every night because he knows that having fun is infectious. I once worked at a company where everyone had their to-do lists, and they dutifully checked the boxes so they could cash their paychecks. The company was always struggling, and, while they’d say the reasons were many and complex, I didn’t buy that. I think the reason was simple: the to-do list didn’t say to do everything excellently and have fun doing it. So, keep raising the bar. Don't just check the boxes. Keep becoming a better artist and a better musician. But don’t forget that before multi-million dollar salaries and endorsement deals became the norm, sports began with people having fun. And in our world, we even talk about “playing” music. So as you develop your music, remember that competition isn’t just about grim determination—let’s see if you can have more fun playing music today than you did yesterday. *image courtesy - Columbia Pictures _________________________________________________________________ Dendy Jarrett is the Publisher and Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

Musicians – The Sports/Music Connection Aren’t they really different? Maybe not… by Dendy Jarrett It’s football season, which means half-time musical ceremonies, high-school marching bands, and some high-profile musical act playing at the Superbowl. Hockey and basketball games pump up their audiences with adrenalin-inducing music. Every two years, the Olympics start with a musical flourish as athletes parade around the field. Even a few sports stars, like Shaquille O’Neal, are musicians too. This connection goes against the stereotype of the geeky musician and the muscular jock, but the two have quite a bit in common. Both sports and music require physical dexterity—and the stars in each field often exhibit it to an extreme level. Both are disciplines, and people tend to get into sports and music at an early age. The careers of both musical and sports stars often culminate in stadiums full of people, and, of course, both music and sports are all about entertainment and excitement. There’s even something that erases the boundary between sports and music—Drum Corps is not band but a competitive music sport made up of drum corps units world-wide. They start rehearsal in the fall, then rehearse all winter for a nationwide tour starting in June that culminates at the Championships in August. During the tour, the members rise early, rehearse all day, board a bus to the next destination, catch a few hours of sleep in a sleeping bag, then get up and do it all over again. Sounds like life on the road for indie bands, eh? But there’s more to the story. I admit it, I was a band geek growing up. If anyone ever wondered where I was, they could find me in the band hall behind a drum set. Being immersed in music helped me and many of my friends survive those tumultuous teenage years, just as sports has done for others. Some musicians and athletes saw what they did as a ticket out of what they feared would be a mundane life. And, like sports, music builds a lot of the same character traits: discipline, teamwork (especially if you’re in a band), patience, and dedication. And even if you don’t end up playing in the World Series or in front of screaming fans at Madison Square Garden, what you will have learned along the way will serve you well—wherever life takes you. -HC- PS: If you do not already subscribe to our bi-weekly e-publication, Make Better Music, please sign up here. Join the over 80,000 subscribers! We never spam you or sell our lists. (Coda: If you’ve never watched drum corps, do yourself a favor and watch the Blue Devils Drum Corps from Concord, California in their final season encore performance below—as they won the 2017 Drum Corps International Championships. {Multi-cam Version} It may not be your kind of music, but you’ll see a bunch of musicians who truly knew how to “give it their all.”) _________________________________________________________________ Dendy Jarrett is the Publisher and Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

Can a small change net a big change? by Dendy Jarrett Dear Musician – Chaos theory says that a small change in one state of a deterministic nonlinear system can result in a large difference in a latter state. In simpler terms, chaos theory means that (in theory) a butterfly flapping its wings in Mexico can cause a typhoon in China due to subsequent changes in the wind currents it creates. While a typhoon in China may be an extreme representation of the theory, we’ve already seen plenty of examples throughout history by which seemingly insignificant events triggered profound changes. How can the butterfly effect create change in the music world? Consider the TR-808, which flapped its butterfly wings and sent hip-hop and dance music in a different direction. Or a guy in a college dorm named Sean Fanning, who wanted to create a network so he could share music with friends—and essentially ended the record business as we knew it. Or the Beatles’ appearance on the Ed Sullivan show, when a one-night TV appearance transformed the music industry to such an extent we’re still feeling the aftershocks today. How many thought that the invention of S-VHS videotape would mean the end of analog tape recording, courtesy of the Alesis ADAT? Then there’s the impact Madonna had in the late 80s that affected fashion, music videos, and even concerts. Could you have a butterfly effect impact? Someone influenced every musician. Someone showed each of them how to play their instrument(s). Someone, be it a relative, friend, or another musician they heard on the radio, fueled their desire to make music. And those “someones” were influenced previously by yet another group of “someones”…and so on. This underscores the unpredictability of the principles of chaos, whereby we can never know how all the initial conditions of complex circumstance can affect the steering currents of the future. So what you do today can have a long-lasting effect on the world of music. Teaching a child to play an instrument could be the catalyst. Playing a song at your next gig that sparks a couple to fall in love, get married, and live happily ever after with “their song” could be a catalyst that changes two lives and the lives of all they touch. You might pen a song that gets sampled as the next dance music anthem—after all, a flag waving in the wind was what caused Francis Scott Key to write the song that became the national anthem of the United States. Even something as simple as buying a set of strings helps put food on the table for a family you don’t even know. That guitar pedal you bought could have been the one pedal that a boutique pedal manufacturer needed to make payroll. When our own Craig Anderton wrote the book Electronic Projects for Musicians, he just wanted to pay the bills because Popular Electronics magazine didn’t want to run DIY music projects anymore. Little did he know that, decades later, companies would credit that book as the catalyst for their start in this industry. MIDI began over 30 years ago as a way to have a single keyboard trigger multiple synthesizers, and now it’s in billions of smart phones and mobile devices. Imagine what would happen if every musician went out next week and bought an instrument, accessory, or software program—it would be like a GoFundMe on steroids for the industry. Think of the positive effect this would have on the thousands of people who have parlayed their love of music into a lifelong career of making great instruments for those who love to make music. And who knows where that would lead! It’s impossible to measure the effects of all the butterflies in the world and how they impact the weather. Likewise, your lasting effect on someone you inspire to make music may never be known. But you can be certain that there is an effect. So go ahead—be a musical butterfly. Flap your wings and keep playing your music. Music will thank you in the long run. And before we leave the subject of butterflies…if you like the Make Better Music newsletter and find it inspirational in your musical endeavors, please share it with one other musician. You may never know the impact you’ll be making. - HC - _________________________________________________________________ Dendy Jarrett is the Publisher and Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

nextDrive Spectra 32-Bit/384Khz DAC Headphone Amplifier Tiny DAC - Huge Sound ... you won't believe your ears ... by Dendy Jarrett I’m not an ”audio guy.” I understand the basic principles, but only to the extent a drummer needs to get good sound from a drum kit. So, when nextDrive asked me to review their Spectra, I turned to Craig Anderton to explain why it sounds so good compared to the “native,” wimipy sound from my Mac Book and iPad Pro. The Way, the Truth, and the DAC There are some very good reasons for using an outboard DAC (digital to analog converter) with laptops and mobile devices. The audio running around inside your device is digital, so it has to be converted to analog using a DAC (digital-to-analog converter), and then go through a small amplifier with sufficient power to drive headphones or earbuds so you can hear the audio. The DAC and amp will not be audiophile quality; due to cost reasons the converters are not precision devices, and the amplifier will likely not only have some noise and distortion, but it also lives in a “dirty” electrical environment where it may pick up a variety of digital noise. An outboard DAC offers several advantages. First, it’s fed digital data directly from a port (e.g., USB or Apple Lightning connector). From there, it can feed a high-quality DAC as well as an audiophile-quality amp. Second, the amp is not located within the computer, so it can operate in a much cleaner electrical environment. Also, it will likely be more powerful than whatever is in the host device. This isn’t so you can blow your ears off, but rather, to ensure sufficient headroom to handle transients and thus minimize clipping distortion. The result is that the outboard DAC will offer significantly better sound quality than the host’s onboard audio. Eliminating the onboard DAC and amp is one reason why Apple went to a digital audio output with their Lightning connector, but the audio quality still depends on the DAC and amp fed by the digital data emanating from that connector. The Spectra The nextDrive Spectra is a sleek little device. I am a minimalist in principle and this unit fits the bill—there are no moving parts, buttons, or switches. The housing is anodized black aluminum, and about the thickness of a writing pen. The cord is a short, black, cloth-looking (bendable nylon) sheath with a vintage vibe. One end has a USB connector (the usual fat head, not USB-C), and the other an 1/8” stereo minijack. To use Spectra with my iPad pro, I needed a Lightning-to-USB adapter but otherwise, there are no drivers to install for a Mac or iOS—you just plug and play. Easy peasy. The Performance Where this little tiny device departs from its sleek, small package is in the huge sound it delivers. The increase in volume was certainly noticeable on my MacBook but it was almost double the volume with my iPad Pro. Certainly, needing an adapter for the iPad was inconvenient, but the increase in volume and perceived clarity was well worth it. (Here’s hoping they make a Lightning plug to headphone jack version soon.) For this test, I used my favorite “go to” headphones, KRK’s KNS 8400. These headphones gave me a much better read on the Spectra’s true performance over the typical earbuds. Despite its size, Spectra decodes DSD up to 11.2MHz and 32-bit audio up to 384kHz. What does that mean? It’s can take your volume to Eleven! The Conclusion The nextDrive Spectra confirms the old saying that big things can come in small packages. nextDrive even touts Spectra as the “world’s smallest 32-bit / 384 kHz portable DAC.” Now that I realize how much audio quality I was missing with my devices’ existing audio, I need Spectra with me…at all times. It’s a clear winner in my book, and is now a must-have when listening to my music. -HC- Resources nextDrive Spectra Website _________________________________________________________________ Dendy Jarrett is the Publisher and Executive Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

Grover Pro Percussion Studio Pro Tambourine When you need the best jingle jangle jingle by Dendy Jarrett "You’re reviewing a tambourine? Have you lost it, man?" Yeah, that’s what I was dealing with around the office while wailing away on this tambourine. In the spirit of full disclosure, I was a Percussion Performance Major in college and was schooled in the proper techniques of tambourine playing. Later in life, I was fortunate enough to play drums alongside the great percussionist Tom Roady, who passed away a few years ago. Tom could make a tambourine sing like no one I have ever heard or watched. When he picked up a tambourine, it was as if it became a living being. And during my years playing with him, I picked up a thing or two about the art of the tambourine. When Grover asked if I’d review their new Studio Pro™ Tambourine with German Silver jingles, I was excited to accept the challenge. The Back Story Grover is known as the gold standard in orchestral and symphonic music. Their concert snares, mallets, wood blocks, temple blocks, and tambourines are found in grand symphony halls around the world. If you are a serious percussionist, it's likely you’ll own something Grover. When Neil Grover found that L.A. and Nashville studio percussionists like Rich Redmond, Eric Darken and Craig Krampf were buying his orchestral tambourines to use for the studio, but were cutting out his calf skin heads so that the tambourines would be headless, he was taken aback. As a result, he worked to develop the Studio Pro Headless Tambourine. German Silver Phosphor Bronze Phosphor Bronze/German Silver Mix The Instrument Neil Grover just said, "Hey, can we send you a tambourine to review?" And he did. When I first opened it without knowing the backstory, I was a little disappointed it didn’t have a head on it. But I soon got over that disappointment. (Now, if you aren’t a drummer and you’re reading this, it may seem a little unusual to be reading about a drummer getting giddy over a tambourine, but stick with me here.) This tambourine even comes with its own case! Yes, that’s right … the tambourine comes nestled in a ballistic nylon carrying case. However, this isn’t a twenty-dollar tambourine either. In Grover’s research, they found that the same wood shell of their fine symphonic and concert tambourines worked well for a headless model. The solid hardwood shell is stained a classy satin black. The playing edge features a rubber edging that allows for the tambourine to be played without severe impact on your hand. Also, the rubber edge makes for perfect tambourine thumb rolls (something I thought I’d miss due to the lack of the head). Grover also sells an aluminum clamp for the tambourine, which, when mounted on a clamp and attached to a cymbal stand, allows it to be played with sticks on the rubber comfort edge surface. The jingles are mounted in a staggered formation and the tambourine has 17 dual sets of hand-hammered Projection Plus™ German Silver jingles. The tambourine is also available with all Phosphor Bronze jingles (provides a darker, warmer sound), or a mix of the Silver and Bronze jingles. The features include: 10” diameter durable hardwood shell Soft rubber comfort edging – protects hands and the shell Dual-width staggered jingle slots Hand-hammered German Silver alloy Projection Plus Jingles Grover Pro guarantee of quality The Performance Performance is a prime example of why spending money on a quality instrument yields quality results. The dynamic range of this tambourine and its accuracy are incomparable. The clarity of the notes from this tambourine would allow you to tap out the staccato snare part of Bolero on it. But if you're a studio musician who’s ever played tambourine, you know that this instrument can become overbearing in the mix. To control the tambourine in the mix, players are usally sent to the confines of a sound isolation booth. With this tambourine, you can control that volume with a wide dynamic range. The Studio Pro tambourine is sufficiently loud enough (and I mean it can get loud!) to play in a live setting, or add to your drum setup with the optional clamp. The jingles are bright and articulate, and, if played properly, never become mush in the mix. I believe this to be a primary reason why the Studio Pro is headless; there is no overtone or sympathetic tone that the head would have created. The other benefit to this tambourine is its balance. It isn’t too heavy and the weight is equally distributed, thus avoiding player fatigue. Conclusions As I mentioned above, this isn’t a cheap tambourine – MSRP $152 with a street price of $105.70, but you get what you pay for. Serious percussionists are aware of Grover, but studio owners and music makers everywhere should become fans as well. Whether you are laying down a serious track in a million-dollar studio or recording on an iPhone with friends, your music deserves quality sound from quality instruments. The Grover Studio Pro delivers, and I found no complaints whatsoever with the unit. With a tambourine of this caliber, you can become Bob Dylan’s Mr. Tambourine Man and "in the jingle jangle mornin’ they’ll come followin’ you." Resources Grover Pro Percussion Official Website Studio Pro™ Tambourine - German Silver - Buy Direct Optional Tambourine Mounting - Buy Direct Video: _________________________________________________________________ Dendy Jarrett is the Publisher and Executive Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

Musicians: The Endangered Species? It’s not just wildlife we need to be worried about … by Dendy Jarrett Dear Musician – Wikipedia defines an endangered species as "a species that has been categorized as likely to become extinct." If you read the clickbait articles on the web—or, in more practical terms, noticed the dramatic decline in live performance venues—you might think musicians are morphing into dinosaurs. True, funding for the arts in schools has been slashed in many states. True, it’s harder to make a living as a gigging musician. Guitar Hero used to be a big deal, but with hindsight we can see it was a fad. True, the Washington Post even wrote an article about the supposed “death” of the electric guitar. So it’s time to call the funeral home, true? These “the end of the world is coming” stories get boring after a while. Right now, articles about the end of car culture are popular; millennials aren’t interested in buying cars. Therefore, it’s the end of the car because they decided all they really need is Uber or Lyft. But wait a minute…what do Uber and Lyft drivers use? Bicycles? When synthesizers came out, there were dire predictions that they would put musicians out of business. Only one problem with that argument: synthesizers are played by…news flash! Musicians. Or take guitars. Overall, guitar sales are up, thanks to increased acoustic guitar sales and ukuleles becoming the new “starter guitar.” Someone’s playing all those stringed instruments. More guitars are being sold than ever. What is becoming endangered, however, is the idea of musicians being special. Music has been democratized; there are now more ways to get your music heard than ever before. It used to be that if you were a guitar player in a band, you were a big deal. Now you’re just a…guitar player in a band. And some people think of DJs as “replacement musicians” who do nothing special (even though DJing is not easy). Is this a bad thing? It remains to be seen, but popular culture is cyclical. Who’s more of a guitar hero—the person who gets a high score in a video game or the music teacher who inspires a student to play an instrument? Who’s more of a star in some kid’s eyes—Slash playing something on TV (assuming they even know who Slash is), or the musician next door who shows the kid it’s not that hard to learn an instrument—and maybe he should take out of the closet the Casio keyboard that Dad didn’t really get into? Who’s more likely to earn a living in music—someone who complains that you can’t make any money streaming from social media or someone who uses social media to promote gigs and sell merch? Species become endangered for many reasons, but one of the main ones is not being able to adapt to a changing environment. The world is not “same as it ever was.” But with more people listening to music than ever and more people making music than ever, it’s just a matter of time before our musical environment stabilizes and opportunities become available. Meanwhile, you (yes, you) can make those opportunities open up faster. How? Well, consider this: Music needs ambassadors, so appoint yourself. The next time you meet someone who marvels that you can play a musical instrument, explain that it’s not that hard…and offer to give advice on good starter instruments. Next time you see someone listening to music on a smart phone, point out that there are some pretty cool programs for making music (start with Propellerheads’ Figure). Don’t see DJs as the enemy—see them as primed for learning an instrument. One definition of an ambassador is “a person who acts as a representative or promoter of a specified activity.” At Harmony Central, we see ourselves as ambassadors of music (and we’re really happy to see readers of this newsletter getting into the spirit of things by encouraging their friends to sign up to “Make Better Music”). But ultimately, we all want to hear fantastic music, whether made by ourselves or others. Musicians will always make music; it’s in our DNA. Yes, the musical environment is changing—but we can change, too, and bring others into our new musical environment as a way to strengthen it. In doing so, you can keep musicians off the endangered species list. -HC- _________________________________________________________________ Dendy Jarrett is the Publisher and Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

Yamaha Recording Custom Birch beauties are back! by Dendy Jarrett My first exposure to Yamaha's Recording Custom series came around 1985. I was managing a large percussion retail store in Florida when we received our first Recording Custom set. There was much lusting that day over that cherry woodgrain kit. I mean ... Steve Gadd was playing these drums ... so you instantly knew there was something special about them. Yamaha as a music instrument company has been around since 1887, but they didn't start making drums until 1967 - so they've had 50 years to refine their manufacturing. And refine they did! When the Yamaha Recording Custom series came on the scene, they quickly became the gold standard for recording drums. They are arguably the most recorded drums in history. Yamaha single-handedly created the buzz for birch. Birch became their marketing campaign as they promoted the focused and punchy sound over the dark sound of mahogany and the bright 'ringy'' sound of maple. Back in the early days of Yamaha Drums, having a "Made in Japan" designation was not necessarily considered a "quality" thing, but they let the product do the talking. It seems every time manufacturing has transitioned from Japan to Taiwan and now to China that we've been through the same weary adjustment period. However, you shouldn't let the fact that these drums are produced in China worry you. The name of the game is quality. In 2010, Yamaha invested $10 million in their Hangzhou Xiaoshan plant and in 2011 re-introduced all their high-end drums, which are now manufactured in that facility. In 2013 Yamaha decided they would bring back a revamped Recording Custom. They, of course, brought in the great Steve Gadd as their test pilot. With the abilities of the new China plant, they re-introduced the new Yamaha Recording Customs at the 2017 Winter NAMM show. The Subject Surprisingly, Yamaha reached out to ask what configuration I wanted to test, rather than sending a kit of their choice. Here's what I requested: 22X14 Bass Drum 12X08 Mounted Tom 16X15 Floor Tom 14X5.5 Brushed Stainless Steel Snare Drum 800 Series Hardware (and they included a throne!) Packaging Perhaps it’s because I’ve been on the manufacturing side of the drum industry or it’s because I’ve been around this industry so long, but I notice the little things like packaging. This kit was packaged extremely well with minimal waste. When you buy a drum set, you may not realize how much expense and time goes into engineering the boxes. The kit with hardware weighed about 170 lbs. As you can imagine, the drums themselves, with so much painted surface, would be easy to damage during transport if the packaging were not well designed. The result of poor packaging results in a lot of returns and unhappy retailers and drummers. It was very apparent that Yamaha had top-notch engineers work on the packaging design. With that, we’re off to a good start. Quality - Quality - Quality The moment I opened the mounted tom, it screamed quality. The Surf Green finish is flawless - it even looks wet. I had let Yamaha decide what color to send, and their choice couldn’t have been more on point. The Surf Green is not a turquoise and not a robin's-egg blue, but a nice melding of the two. The color is very classy, with a vintage appeal. The bass drum hoops have a mid-brown, honey-wheat finish that is extremely complementary to the Surf Green finish. The attention to detail on this kit is par excellence. The finish, again, is flawless, but so is the chrome work. There are no rough edges to be found, no "burrs" on the hardware, and no blemishes in the chrome whatsoever. The inside of the shells are finished in a dark brown (yet attractive) paint/stain. It gives the drums' interior a flawless finished look. To further point out the attention to details, the bass drum hoops (the end that applies pressure to the drum head counter hoop) are finished in a complementary black finish - with no raw edges on these hoops. What really struck me (again it’s the details) is that the bass drum rods had no greasy mess on the tips, and they don’t need it. The threading is so accurate on these lug casings that there is no drag, no problem getting the tension rods started or tightened, and no lubrication necessary. What’s New? One of the biggest changes made to the new Recording Customs is that the previous generation was produced with Hokkaido birch sourced from Japan. The new Recording Customs are produced with a quality North American birch. The bass drum and toms feature a very thin 6-ply shell with newly redesigned, weighted, full-length lug casings. These casings are designed to enhance the low fundamental tone. The drums are also fitted with the classic Y.E.S.S. tom-mount system instead of the latest Y.E.S.S. III because they want to limit the sustain on the drums, which further enhances the fast and focused decay and sound. Specifications Lug – Newly designed Weighted High-tension Lug (one-piece) Shell – 100% North American Birch 6-ply (with inner dark brown paint/stain) Bearing Edge – 30 degree/R1.5 TT/FT Hoop – Triple Flange Hoop (Steel 1.6mm) BD Hoop – Wood Hoop (brown honey wheat finish with black head facing detail) BD Claws – Die-Cast with anti-scratch/anti-vibration neoprene insert TT/FT Head – Top: Remo US Coated Ambassador/Bottom: Remo US Clear Ambassador BD Head – Front: Remo Smooth White PS3 with Yamaha Logo/Batter: Remo PS3 Coated (the 18” BD features a Remo Coated Ambassador) Tom Mount – Y.E.S.S. FT Bracket – Open Type BD Leg – Convertible Type (18” is a lifted style BD for beater centering) Snare Drum – Brushed Stainless steel 10 lug MSRP – Starting from: $4,920.00 The hardware supplied with this kit is the 800 series, which I’ll cover in a later review of the hardware only. A Sound Impression Certainly, the drums look spectacular. But how do they sound? Well, they sound so outstanding that they’ve convinced me that I should switch my personal kit from maple to birch. They're easy to tune; I'm struck by how much tonal change a subtle turn of a drum key can make on one tension rod. Dialing in the sound you want on this kit is easy, and with some proper tuning, you need no tape, gels, or other devices on the heads. Additionally, I think it makes a big impact on the sound that US- built Remo heads are on these drums (instead of off-shore built Remo heads). The snare drum is a thing of beauty, but be warned – it's heavy! The weight probably helps with the solid sound. You’d think that this kit would be supplied with a wood drum for recording; but, honestly, the 10-lug tuning capabilities of this drum with the very accurate sensitive throw-off gives a fantastic sound. Despite being metal, it didn’t have the normal ringy-washy overtones of a metal drum. The sound of the snare complemented the sound of the rest of the drums. Conclusion I’ve seen a lot of change in this industry - some of it good, and some not so much. This change with the Yamaha Recording Custom is very (very) good. When the first generation Recording Customs were at their pinnacle, they were setting the bar as the benchmark kit which all other manufacturers pursued. So you might wonder why change anything, and could they even be any better? Well, don’t take my word for it – take Steve Gadd’s: “The aim was to bring the Recording Custom Series up to date. I told Yamaha through the [design] process, the goal should be that everything is a step up. They still feel like the Recording Custom, when you take them out of the box – they don’t feel new, they feel comfortable and …that’s good. The bass drum has a nice fat sound, the drum responds to different heads on it, and my goal was to have a simple snare drum design that could respond to a wide range of tuning. I think we did a great job—the new Recording Customs sound great and I think you’ll like them.” And I certainly do! -HC- Resources To Purchase Yamaha Recording Custom Drums Sweetwater Musician's Friend Reverb _________________________________________________________________ Dendy Jarrett is the Publisher and Executive Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

Musicians - Did You Know You Are The Industry? You have more influence than you realize... by Dendy Jarrett Dear Musician - When I was growing up, selecting music gear was much easier. Why? Fewer choices. Making a decision required less research and buyer knowledge. Technological advances weren’t where they are today either, so that also made gear selection easier. You didn't need a degree in physics to understand how a particular feature worked. Mirroring the days when television was limited to network stations and not much else, for electric guitarists it usually came down to the “big two”—Gibson and Fender. For acoustic guitarists it was the “big two,” Gibson and Martin. For drummers, it was the “big two,” Slingerland or Ludwig. Today, there are myriad choices, and your brain can hurt just doing comparison shopping. A friend of mine who really doesn't like phones (we'll call him "Craig") grudgingly conceded he needed to update his Motorola Android flip phone that was stuck somewhere in the distant past. So he went to an AT&T store, where he was bombarded with so many options he just said "I don't have the time" and left. I guess the happy ending is that his battery had become a fire hazard, so he went back and eventually got something—but he still wonders if he made the right choice. Music gear can feel the same way. Today there are so many great choices that the spending is diluted, and that means the "pie" is being cut into ever-smaller slices—the same way that cable started pulling people away from the networks. This is great for musicians because the extreme level of competition can mean better prices. But that extreme competition also means that some companies cut corners to meet price points. What can you as a musician do to make certain that, when you vote with your dollars, you're voting for gear that will serve you well? Why? Because you are the industry. Without you, there is no music gear industry. All of us at Harmony Central are musicians, so, yes, it's a bit self-serving that we've really try to provide a variety of perspectives on gear because we buy stuff, too. We provide Expert Reviews through which editors who really know what they're talking about write seriously detailed vetted reviews. We also introduced the Pro Review format, which brings forum-like interactivity and free-wheeling discussions by which the reviewer, user, and manufacturer are on an equal footing. Our forums let you ask questions to knowledgeable users who have experience with gear. And, finally, we have the crown jewels of reviews - tens of thousands of User Reviews, written by your fellow "in the trenches" musicians. But we also think the process of learning about gear doesn't stop with voting with your dollars, so we run articles on how to incorporate gear into specific applications or genres of music. So with a little research, you really can find the gear that's right for you. But this needs to be a two-way street with companies, and we need to support the ones that support us. If you find something that could be improved, don't just complain in forums—send a thoughtful email or letter to the company explaining how they can make a better product. Understand that companies are in a small, competitive industry with razor-thin profit margins. If you find something that really rocks your world, tell your friends and evangelize on behalf of that company—your word of mouth means a lot. Often, the first cutbacks at companies are with marketing and promotion. Advocate for the companies that do you right, and they'll grow so they can continue to do you right. Ultimately, never lose sight of the fact that this gear exists so you can make music with it. The more you make music, the more you'll find the gear that helps you in your goals. The more you make music, the more you inspire others to do the same. And when you do that as a musician, you grow the industry (your industry). And that is a great thing for you, us, your audience, and the companies that serve us. -HC- _________________________________________________________________ Dendy Jarrett is the Publisher and Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

The Ultimate Celebration Accessory - Live Music The "universal language" is also the global language of celebration by Dendy Jarrett As those in the USA get ready to celebrate the 4th of July (Independence Day), preparations are underway all over major cities for huge fireworks extravaganzas. But what's really interesting is that virtually all of these celebrations include some tie to music - which isn't surprising, because since mankind first started hitting sticks together instead of simply hitting each other with them, music has been an integral part of celebrations throughout the world. For example, music is a huge part of the Olympics and for that matter, virtually all sporting events - the Super Bowl would hardly be the same without the music-centric half-time show. But music isn't just a part of massive celebrations. Weddings, funerals, high school proms, Native American pow-wows, worship services, protest marches, festivals...the list could go on and on. (And also think about the importance of dance in many of these celebrations – you certainly couldn’t have dance if you didn’t have music.) In many ways, we include music in these celebrations as our means of expressing emotions tied to the celebration - everything from the joy of a couple united in marriage, to the crossing over to whatever happens (or doesn't happen) after life, to major events and holidays. Through lyrics, we can communicate messages of love, hate, relationships, sex, politics - and often, music doesn't even need lyrics to express itself. Think of a blues guitar riff playing: it can transport you immediately to a place of deep thought and reflection and, yes, maybe even pull you into sadness or happiness. Grammy-winning musician Moby once said “One of the really fascinating things about music is that technically – in a very literal way – it doesn’t exist. A painting, sculpture, or a photograph can physically exist, while music is just air hitting the eardrum in a slightly different way than it would randomly. If you were a space alien trying to define music, you would define it as humans manipulating the way in which air molecules hit someone’s eardrum. Somehow that air, which has almost no substance whatsoever, when moved and when made to hit the eardrum in tiny subtle ways, can make people dance, cry, have sex, move across country, go to war, and more. It’s remarkable that something so subtle can elicit profound emotional reactions in people.” In his 2006 book "This is Your Brain on Music: The Science of a Human Obsession," Dr. Daniel J. Levitin writes, “…Whenever humans come together for any reason, music is there…it is and was [always] part of the fabric of everyday life.” Whether or not you're in the USA celebrating the 4th this week, you’re probably celebrating something, somewhere, with music. So find a live music venue, or grab your own instrument, and make time to celebrate what Henry Wadsworth Longfellow once called "the universal language of mankind." That in and of itself is worth celebrating! -HC- _________________________________________________________________ Dendy Jarrett is the Publisher and Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

Sabian Effects Cymbals - 2017 Additions Effects aren't just for guitarists - and they aren't always electronic by Dendy Jarrett To most musicians, "effects" means flangers, wah pedals, overdrives, and the like. But drummers can get in on the action, thanks to cymbal companies that want to stay innovative - and Sabian Cymbals sent a sampling of the latest Effects cymbals that were added to the 2017 line. Each of these cymbals has its own voice and a specific, yet wide, range of use within contemporary music. Effects cymbals let you add specialty voices to your cymbal lineup that go beyond the typical crash, ride and hi-hat cymbals. The familiar effects cymbals are the splash and China types, but cymbal manufacturers have taken cues from drummers and started offering more types of effects cymbals. I was sent one size of each of these new offerings, so I'll cover each specific size as well as mention the other available sizes. B8X Ballistic Crash Sabian has expanded the B8X line, and these cymbals are a true testament to Sabian's commitment to making great-sounding, affordable cymbals. The Ballistic Crash uses a totally new hammer pattern; the cymbal has large lathe marks, but the hammering dimples are huge. This gives the cymbal a distinctive look. And if you've ever played any of the B8X range, you know that the alloy has a pinkish hue, so the cymbal is distinct from the rest of the effects lineup. Besides the large hammer marks, another unique feature is, when struck, the cymbal decay trends upward in pitch, rather than a crash's typical downward pitch. The result is an aggressive, very quick white noise type of crash. It reminds me of a cross between a lightweight crash and a China cymbal. The overall sound is similar to the higher end O-Zone crashes Sabian offers. I reviewed the 16" model, but an 18" size is also available The one thing I can say about this cymbal is how aligned the cymbal name is with the sound it produces. The cymbal would fit right in if you are into fusion or new wave, especially metal music. Bullet points: Style - Focused Sound - Bright Weight - Thin Metal - B8 XSR Fast Stax Stacked cymbals aren't new - drummers have been stacking different cymbals forever (it seems). But manufacturers now officially recognize this trend and are now offering specialty matched, stacked cymbal pairs. The XSR Fast Stax is a thin 13" X-Celerator cymbal that is inverted in what would be the concave part of a 16" China cymbal. The 13" has an "air-wave" edge (think bottom hi-hat cymbal) to avoid airlock between the stacked cymbals. This wave also increases the volume and "trashiness" of the cymbal pair. The China has a wider edge to give you a surface to play on beyond the stacked surface. Years ago, one of my favorite drum corps featured a galvanized trash can in the pit ensemble as an instrument. During one of the songs a percussionist would carefully smash glass bottles during moments of the song to give specific attack effects. This cymbal sounds exactly like what that breaking glass sounded like in that galvanized trash can - its quick white noise definitely grabs your attention and holds it anytime it's played. And the sound, while whip-quick, is large and in charge (pure noise trashiness). The cymbal is great for giving staccato definition to patterns or can be "crashed" for a white noise effect. Bullet points: Style - Vintage Sound - Bright Weight - Medium Thin AA Mini Holy China If you keep up with Sabian at all, then you know that Chad Smith is one of their endorsers and has a signature cymbal called the Holy China. The cymbal is a typical China cymbal that has been drilled with approximately 10 rows of multiple drill holes. The resulting cymbal has a lighter weight and brighter sound. This year Sabian has introduced the Mini Holy China to this lineup. The cymbals are offered in 8", 10", and 12" sizes, and the cymbal sent to me for review was the 12" version. I am admittedly a China cymbal fan; I once temporarily deafened a bass player with an authentic China cymbal, and ever since my exposure in the 80s to The Outfields' Your Love, I've incorporated a China cymbal in my playing. So I started out by really digging the tininess of this China cymbal. Sabian claims that this cymbal "cuts better than any other cymbal its size," and they'll get no argument from me. To my ear, the 12" Holy China produced about as much white noise as the Fast Stax, yet with a splashy/trashy component. However, your bandmates may not be able to cope with this little cymbal's bite because it will cut through a Marshall stack on 11! Bullet points: Style - Vintage Sound - Bright Weight - Extra Thin Metal - B20 Alloy AAX Aero Splash The final cymbals in this year's additions are the Aero Splash AAX cymbals. Holes seem to be all the rage in cymbals, and I understand that they cut down on weight and shorten the sound's decay, resulting in an extremely responsive cymbal. The Aero splash is no different. This was really my favorite of all the new effects and is offered in 8", 10", and 12" models. I was sent the 12", and, while I love it, I'd most likely add an 8" or 10" to my setup. This cymbal gives what is akin to the splash you might get from a perfect 10 high-dive athlete. (The less the splash—the better the dive... right?) This cymbal is lightning fast, both for attack and decay. Bullet points: Style - Modern Sound - Bright Weight - Extra Thin Metal - B20 Alloy Conclusion Sabian continues to expand the offering of cymbals across their range, and the effect cymbals seem to lead the charge in innovation. Sabian listens to their endorsers and drummers who play their products; they also watch trends to create new and innovative voices. If you're looking for special effects that will compete with phasers, flangers, and the vast array effects available to guitarists...hey - drummers need effects too! Resources Sabian's Official Website - Effects Cymbals Find Sabian Effects - Sweetwater Musicians Friend Reverb Guitar Center _________________________________________________________________ Dendy Jarrett is the Publisher and Executive Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

Another Eagle Has Landed Should they soar on the wings of change? by Dendy Jarrett On June 5 2017, the Eagles announced they were adding a new member (supposedly to replace the late, great Glenn Frey) with Vince Gill and Frey’s son, Deacon Frey. The question is this: can they do that? Well, of course they can - and DID! Therefore, it might be better to ask…should they do that? Most die-hard musicians and band fans understand that band members come and go, but then there are those who are so invested in the music with which they fell in love that the thought of a replacement like this is sacrilege. As musicians and music fans, we hate it when bands move our cheese - even if an unfortunate death prompts the move. There are certainly fans who will already know this, but most musicians will certainly remember that Vince Gill started his professional musical flight with Pure Prairie League. He played mandolin, guitar, and sang most of the high harmonies. He’s also been a long member of The Time Jumpers out of Nashville. And the truth is that Don Henley and Glenn Frey have always run The Eagles like a business, so they can hire and/or fire whomever they please. Shortly before announcing the addition of Vince, they announced that Deacon Frey, Glenn Frey’s 24-year-old son, would also be added. Personally, I think adding Vince as a new member is a great ‘fit’ for the band, but, better than that, a brilliant marketing move. I mean, Vince is a great musician and vocalist and many will want to come to see him…with them…possibly introducing the Eagles to an entirely new legion of fans. The band has come so far from getting their start in 1971 (a little trivia for you) as the backing musicians for Linda Ronstadt. They released their first album in 1972, Eagles, with the number 1 hit "Take it Easy." The rest has been rock 'n' roll history. Despite rumors after Frey’s death that the band was done, they seem to be pulling things back together and currently have four large shows scheduled – July 15 and 16 at Dodger Stadium, and July 29 and 30 at Citi Field in New York. And while this is all that's scheduled, Henley was overheard to say, “Who knows where this will lead us!” Both Gill and Frey said that it was the prospect of keeping Frey’s songs alive that motivated the decision to move forward with the band. We all know there are some comeback tours that are all about cashing in while it's still possible, before a band loses all its cachet. Sure, they go through the hits, but sometimes all you get is one or two original members (if that), and sidemen who looks suspiciously like they may have been hired because they were cheap. But then you also have bands that re-invent themselves, add new members who increase the band's vitality, and carry on - sometimes to even greater heights. Consider all the people who thought Pink Floyd had no future without Syd Barrett. Yet, despite the loss of Barrett's unquestioned genius, the band forged a new identity that reached new benchmarks. Or consider the Little River Band, which has none of the original members...but the current lineup has been together for far longer than the original lineup. They have re-invented themselves while remaining true to what made the band popular in the first place. And it's not just about live bands, but recorded bands, as well. Think of the back-and-forth about the 50th Anniversary Sgt. Pepper's stereo mix - some consider it a fitting and long-overdue tribute to a ground-breaking album, while others consider it a travesty. Ultimately, it all boils down to the music...and I expect Vince Gill will help the Eagles fly again. But what do you think? Should the Eagles carry on, or should they have let the memories of the music they made with Glenn Frey live on untouched? -HC- Join the discussion here! _________________________________________________________________ Dendy Jarrett is the Publisher and Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

Yamaha Digital Percussion DTX-Multi 12 Everything percussion in a little self-contained box ... by Dendy Jarrett If you've read my previous electronic drum gear reviews, then you know I had the unfortunate experience of being forced to use electronic drums during an international tour many years ago. Now, when I begin a new electronic drum gear review, I must clear my mind of the horrid association with early electronic gear, one which voided any tactile experience. Yes, you make drummer jokes and think we just hit things (things???)! The subtle nuances that come with knowing how to play a triangle properly or slap a conga are what I enjoy about the percussive arts. With fear and trepidation but also a glimmer of hope (maybe it would be different this time), I opened the box. No demons crawled out... a good sign. FIrst Impressions I felt a little bit better when I experienced the lightweight (under 5 pounds), compact design. It's small, yet allows adequate room for playing in a manner that doesn't leave you feeling cramped for space. The box pads are set up "stadium style" so that you can strike them easily. Because there are actually 12 striking pads (6 larger squares and 6 raised rectangular bars), it can take a little time to adjust to striking at the right place and not accidentally striking an area you don't intend to hit. However, once you acclimate to the spacing, it's a fantastic experience. The feeling of trepidation began to diminish. The Box The Box measures slightly over 12 inches wide. Each of the square pads is about 4 X 4 inches, and the smaller rectangle pads are roughly 4 inches by 1 inch, with an upward radius. The pads are a responsive rubber material and feel natural when played with sticks or with the hands. And while the unit's body is ABS, it feels extremely rugged and could handle most normal wear and tear. The buttons are soft, with a rubberized texture and illuminate when powered on. The only drawback is the small LCD display found on most elecronic percussion gear, but the DTX M12 offers an iPad app (more on that later) that more than compensates for this shortcoming. Specifications (As found on Yamaha's website) 1,061 drum / percussion / effects voices 216 keyboard voices from Motif library 100 MB wave ROM with drum sounds from DTXTREME III 64 MB Flash ROM for importing custom WAV/AIFF files Layer 4 sounds per pad USB – to device / host Expandable via 5 aux trigger inputs Hi hat control jack / foot switch / tap tempo Stick, hand, and finger play modes allow for alternative playing styles Layered pads with a natural feel when played with sticks or hands Bundled with Cubase AI; the M12 can serve as a remote controller The website also lists what Yamaha sees as advantages: Sounds staying resident and memory; better playability due to staggered triggers; the convenience of so many drum sounds in a portable package; suitability for all types of musicians; the ability to add new sounds. The Experience In my limited time to explore it to the fullest, there is no way that I could discover all that this little stuffed box can do. Below, there are links to Yamaha's video tutorials and demonstrations, which give a good idea of the overall capabilities. But what was important to me was how easy it was to get set, start playing, and above all, feel comfortable. The DTX Multi-12 excels at all three. I was able, right out of the box, to connect the power cable, plug in some headphones, dial up a bass and drum pattern, and start playing congas. I've been playing them quite a bit lately and wanted to determine if it was possible to obtain the subtle nuances associated with playing the real instrument. I was sucked right in and must have played for at least 45 minutes before I realized it was time to check out other features. I really dug the tactile response of the pads; going from open conga to slap was as intuitive and responsive as playing the real deal. It did take a moment to overcome hitting the raised triggers, but once I cleared that learning curve, the experience was really invigorating (and much less painful to the hands)! The next test was timpani. I mean, how real could timpani be on an electronic device? Well, I was floored. The response is so close to the real timpani experience, one would be hard pressed to know the difference with your eyes closed. Additionally, while I didn't have one of Yamaha's FC7 foot control pedals, I could have added one and performed extreme pitch bends. And have you ever schlepped timpani to a gig? This takes away all of that headache. There are over 1,000 instruments packed into this little box, and I didn't find any that sounded "canned" or screamed "imitation." Very impressive. Expandability The DTX-Multi 12 has ports for connecting the Yamaha KP 65 Bass Drum Tower (or the KU100 Silent Bass Drum Controller), the Yamaha HH65 HiHat Controller, and the XP120T 12-inch DTX Pad so that you can turn the Multi 12 into a complete portable drum kit. This makes it an excellent choice for a church. songwriter round, or coffee house venue. You can also use Yamaha's DT-50 Series Triggers on your acoustic kit to trigger the Multi 12's sounds. Uses and the App The Yamaha DTX-Multi 12 isn't just for percussionists. it's equally suitable for an acoustic guitar player to enhance a one-man show or use in a drummer's setup to augment an acoustic drum performance. DJs can add a new element to their shows, and it can even replace an acoustic percussionist's setup for convenience or to overcome space limitations. You can even patch it directly to your computer via USB to perform direct-to-DAW tracks. Furthermore, for the performing musician, downloading and using the iPad app lets you dial in specific sound sets and instruments and even tempos for a set list - with all this as easy to change as a drag and drop. You can even make adjustments on your iPad (live) for reverb, pitch, and a plethora of controls. Great news - the app is free, but please know it requires the Apple camera connection kit and a USB printer cable. Conclusion Although nothing can take the place of playing live instruments in front of a crowd, this unit gives you a dazzling array of sounds with a satisfying, highly playable tactile experience in a convenient and portable unit. And if you do use it, the audience will be amazed that all those sounds emanate from your playing a small black box. Imagine showing up with over 1,000 percussion instruments for a gig - you'd need a Ryder truck! With the DTDX-Multi 12, you can show up with a backpack and a messenger bag. You'll still have 1,000 instruments, and they'll all fit in your Prius. The Yamaha DTX-Multi 12 is the percussion you need...in a box you'll want. Resources Yamaha's Official DTX-Multi 12 Web Page VIDEOS: Opening: Preset Kit: Play Mode: Expandability: Pre-Set Patterns: Trigger Function: Music Production: DTXM12 Touch App: Overview- iPad App: Create Your Own Voice! "Clap" To Purchase: Sweetwater Amazon Music Musician's Friend Reverb B&H Pro Music Guitar Center Sam Ash _________________________________________________________________ Dendy Jarrett is the Publisher and Executive Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

Sabian 16" Artisan Elite Hi Hats The black sheep of big, bad, and beautiful by Dendy Jarrett Hi hats have varied in popularity over the years (size wise) as much as fashion trends. Traditionally, I've had 12" or 13" hats. So, when Sabian wanted to send me a set of their 16" Artisan Elite Hi Hats, I was deeply curious. Upon receiving the box and opening it, I immediately knew this was something special. These cymbals ship in their own protective cymbal embroidered cymbal sleeve. I was immediately taken back to when Sabian made its debut, and all their cymbals were shipped in felt embroidered bags (we called them Crown Royal Bags). When I pulled them out of the protective sleeve, I knew why they're called Artisan Elites. These cymbals are signed and numbered works of art. These may be the best-looking hi hats I've ever seen. They are deeply lathed, but with a wide lathe path. The part between the lathes reveals a natural tin oxide that reminds me of that this was once an unlathed raw disk of B20 metal. But you don't have hi hats simply because they look good - what about the sound? These hats take a moment to get your ear accustomed to the low dark sound. But once you get acclimated...look out! I'll remind you that these are 16" hats - larger than your average hats, but I like them. Once I started playing them, I couldn't stop. There were so many colors to explore. I found the "chick" to be very present although dark and "trashy" — but not muddy. The cymbals themselves are dark and "trashy," but not in a bad way...rather...in a good way. The bell is much larger and flatter than on most hats and when playing the bell, it produces a higher pitch of the normal high hat sound - not necessarily what you'd expect from a typical bell-only sound, but a resonant tight bell that takes advantage of the cymbal's size to produce that particular resonant quality. As you'd expect, the bottom cymbal is the heavier of the two, and the top cymbal is pitched almost an octave higher in comparison. So, what did I like about the sound? It's different, and since I had no point of comparison to a normal set of hand-hammered (HH or HHX) 16" hats, I am not certain which aspect to attribute to the sheer size or which to attribute to the hammer/lathe pattern. I'll venture to say that the warm, "trashy" sound comes from the style, and the pitch is due to the size. But what I can tell you is that these hats "got da funk." I just wanted to keep playing them and exploring the sounds. And to clarify the "trash" sound I keep referencing - it's really more of a dirty, earthy sound. If you're looking for a high-pitched, tight chick...these aren't for you. I could get close by applying a lot of pressure on the hi hat pedal and raising the hat's pitch, which would work to produce that high chick, but you'd not want to have to do that all the time. They develop a very dry and trashy wash when played slightly open. Would I play out with these? Absolutely! I play a lot of blues and funk these days...and these would be a welcome part of my cymbal setup. I thought the diameter would be a little much, but I like having a large target area. It's like having a larger color palette - and I dig the dry, dirty tone. (Like the work of art these cymbals are, each is signed an numbered by the artisan who created them, adding to these cymbals' mystique.) The Artisan Elite series lives up to its name. These cymbals are a special kind of special, and if the price weren't a bit too much for my current planned budget (over $700 "street"), I wouldn't be sending them back. In the world of cymbals a 16" Hi Hat may be considered a black sheep, but these hi hats are big, bad and beautiful investment-worthy material. Resources: http://sabian.com/en/cymbal/a1602en-16-inch-artisan-elite-hats Buy 16" Sabian Artisan Elites from: Sweetwater Musician's Friend Guitar Center Reverb _________________________________________________________________ Dendy Jarrett is the Publisher and Executive Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

Is Music Heavy Metal - or Heavy Mettle? Making music helps make us who we are… by Dendy Jarrett Dear Musician, The term about “the mettle of a man” first appeared in print in 1619. Originally, mettle and metal (shiny objects) were interchangeable. Then, at the turn of the 18th Century, the two began to diverge, and “metal” was more about a shiny substance, and “mettle” was more about someone’s character. Of course, these days “metal” is also a type of music—which may have more in common with “mettle” than one might think. In fact, maybe we need a new concept: music as “heavy mettle.” If a person’s character is the sum of various life experiences, there is no doubt music has a profound influence on who we become. Plenty of surveys show that children involved in music classes develop higher verbal skills and visual abilities; at the other end of the mortality curve, music can help keep the brain healthy—and even enhance the memory of those with Alzheimer’s. In a study by the American Psychological Association about the correlation between learning music and IQ, a researcher found that six-year-olds who had one year of instrumental music study had significantly higher IQs than those who didn’t have music lessons. Music also strengthens the heart and releases endorphins in the brain that improve vascular health. But what contributes to your mettle goes beyond medical studies. If you’ve been in a band, you’ve probably learned about team work (and maybe even child psychology, depending on the band)…and learned what it takes to overcome stage fright. There’s discipline involved in learning an instrument that can translate into “sticktoitiveness” later in life. So if you’re healthier, smarter, more comfortable in social situations and more persistent in reaching your goals than other people, it’s very likely it’s because you’ve been shaped by the heavy mettle of music—or even derived many of these benefits just by listening to it. The ancient Greek philosopher Plato was known for his writings on justice, beauty, aesthetics, political philosophy, theology, the philosophy of language, and more. He once said, “I would teach children music, physics, and philosophy; but most importantly music, for the patterns in music and all the arts are the keys to learning.” And he didn’t stop there—Plato also said, “Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything.” No one here at Harmony Central disagrees, and you probably don’t either. As you keep making better music, what you learn will carry you over into so many different areas of life. So remember that you’re not just playing music—music is also playing you and turning you into a better human being, as well as a better musician. -HC- Join the discussion at Harmony Central _________________________________________________________________ Dendy Jarrett is the Publisher and Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

Musicians…you know what I’m talking about! The love of music and your instrument isn’t something you “acquire”…rather it is a fundamental part of your DNA. With every fiber of your being, you can’t help but make music. And let’s face it—music has always had a relationship to the heart, sex, and love. Whether it’s the stereotype of the guy serenading the love of his life with an acoustic guitar, the “they’re playing our song” syndrome, the approximately 76 trillion pop songs dealing with love, or the strings that come up behind the big romantic scene in the movie…music is an affair of the heart. But can love as we know it extend to a musical instrument, which after all, is an inanimate object? Then again…is it? Polynesian cultures have a concept called mana, which in a (very simplified) nutshell means an unseen life energy that flows through all things. A guitar, which is made of wood and was once a living being—and still changes over time—could easily be considered as having some kind of energy. B.B. King loved Lucille, and spoke the blues through her…who’s to say Lucille wasn’t a combination of her own energy coupled with what B.B. King poured into her? Or consider Willie Nelson and his guitar Trigger, or any of the other instruments that are iconically and inseparably linked with an artist—Buddy Holly’s Strat, Jimmy Page’s Les Paul, Chris Squire’s Rickenbacker bass, and so on. Looked at through the lens of romance, those artists may have had affairs with other instruments—but they always came back to their true love. I’ve had musician friends whose instruments were stolen and have literally gone into mourning over the loss, expending exhaustive amounts of time searching for the instrument in music stores, pawn shops, and online. If they can be reunited, it’s a moment of pure joy—but conversely, the realization a magic instrument is gone forever leaves a scar that never quite heals. Some musicians are fortunate to find the musical instrument equivalent of a soul mate. And just like a human relationship, sometimes being with your favorite instrument brings you comfort, peace, and true happiness. Picking up your well-worn acoustic guitar may be like getting a big bear hug. Using that “special” mic in on stage may be the lifeline that connects you with your audience. Yes, we like our gear! But as instruments come and go, keep your eye out for that one-in-a-million instrument that becomes your true love. Sure, you can have some fun affairs with a flashy new instrument, and even some wild one-night stands. But when you find the right life partner, it’s transformative…as is finding the instrument that helps you not only make better music, but transforms your soul. After all, music is an affair of the heart. Join the discussion here _________________________________________________________________ Dendy Jarrett is the Publisher and Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.

Kenny Aronoff – Sex, Drums, Rock ‘n’ Roll – Book The pitfalls, payoffs, and perks of being the hardest-hitting man in show business by Dendy Jarrett I know what you’re thinking – shouldn't it be “sex, drugs, rock ‘n’ roll”? But, Kenny Aronoff is quick to point out that he’s lived the rock ‘n’ roll lifestyles but for him, it was drums - not drugs. I’m not an avid book reader. As a matter of fact, I stink at reading books (I’d rather play drums). But books about drums and drumming come easy for me. And this book was one of those books. And yes, it was written by a drummer! Kenny Aronoff is known as the "hardest-hitting man in show business" and this book explains why. While the book is about drumming, it is equally focused on sticktuitiveness (no pun intended). He didn’t just catch a break with John Mellancamp, rather he used that as a springboard to completely immerse himself into becoming "the drummer." He works feverishly to take any possible gig he can that comes his way. In doing so, he’s become a schedule master by flying out to do a studio call on a down day while on tour (flying back the same evening to pick the tour back up). And while I don’t want to spoil the book for you, it’s clear that early on, he took advantage of some of the perqs of the lifestyle (he had groupies for certain), although he’s happily married now. But for Kenny, it’s all about the drive and the love of music. I’ve had the pleasure of knowing many famous drummers in my life and have learned much from them. I’ve only met Kenny once and never had any dealings with him but, after reading his book, I had to convince myself that I didn’t know him personally. The story is interesting, fascinating, and provocative, all at the same time. If I were to list the artists he’s backed on drums, this would become a 2000 word book-review very quickly. It would probably be quicker to list the people he hasn’t drummed with, but it’s very apparent it has never gone to his head. Driven? That’s very clear. But also grounded and an everyday kind of guy. He’s a musician and been engrossed in the industry, so the language can be “real” - but read past that. The meat and potatoes of the book is the story of a regular (drummer) guy who made good and the hard work involved in riding that drum throne to success. I was really taken by the opening short statement of his Epilogue, and to me it's a great summary of Kenny Aronoff: “The greatest reward I have received from playing drums is to see the joy and emotions on the faces of people in front of the stage. It’s never about me or the band—it’s about all of us: the musicians onstage and the audience are a community, sharing, joy, love, fun, happiness, a celebration, and we give to each other, an intimate back and forth.” If you’re a musician, read this book. It’s a wonderful insight into hard work, the pitfalls, and the payoffs. And above all about how hard work and the love of music can yield great rewards. You may purchase the book at the following locations: Amazon Guitar Center Musicians Friend Target _________________________________________________________________ Dendy Jarrett is the Publisher and Director of Harmony Central. He has been heavily involved at the executive level in many aspects of the drum and percussion industry for over 25 years and has been a professional player since he was 16. His articles and product reviews have been featured in InTune Monthly, Gig Magazine, DRUM! and Modern Drummer Magazines.